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In conversations
about Jacob Dahlgren stripes are usually counted, how he collects
striped shirts, how he paints them as ditto paintings and how he
is said to have over 400 such garments in his wardrobe. Stripes
both from shirts and other things are convincingly documented in
many of his photographs.(i)
Strictly speaking,
I should not write stripes. Lines are what they are called! The
line, of course, is a subject of Vantongerloo, Marcus, Ridell, Kölare,
Riley, Orup, Bærtling, Buren; pure concretists. A basic element,
that allows itself to be transformed into everything from space
to horizontal extension. Even a border phenomenon between figurative
and non figurative (ii), real and unreal. The primary cell for the
building of a picture. By means of braiding, twisting, permutation,
meeting, addition… With this we have quickly come close to the core
of l'art concret, concretism (iii). It is the transformation,
that picture's alchemy that lifts a simple part of the construction
to a new dimension, where the combined parts make up something completely
different, the intangible, the dizzyingly myth-saturated fourth
dimension, which in the best case gives this type of art a shamanic
irrefutability. We enter into concrete art's dream world, the vision
and the revelation, that at the same time make it one of modernism's
most pretentious and captivating endeavours. I like to see Jacob
Dahlgren as one of the artists that is consciously captivated by
the unrealized utopias that (art) history is full of. To name only
De Stijl, Suprematism…- the list is endless. The utopia plays with
the total transformation and therefore is best in writing or a model.
The thought of this desired "new" lived in many works, for example
Rietveld's Red-Blue chair. Seating furniture by Jacob Dahlgren at
Liljevalchs Konsthall in 2001, paraphrased as "Grace Kelly 1-1V",
was lined up in front of a wall of wavy mirrors, whose title quite
exactly gives the carried through transformation of a concrete object:
"How the Physical Existence of an Aesthetic Object Vaporizes in
an Immaterial Play of Forces." From concrete object to concrete
visionary space, an intangible, continuously transforming whole.
But just as obvious is how easily Dahlgren handles these thoughts,
how this deportment is allowed to be ironic, and how the utopia
- it is always safest this way - is disarmed, to in turn transform
into a sharper tool, which possibly, if a bit bluntly, can be called
criticism of ideology.
The theme "transformation"
easily brings other works of Dahlgren to mind, the painting made
of differently coloured clothes pegs (2001), pillars of moulded,
coloured plastic hangers (2001), paintings of yellow and red yoghurt
cartons (Hamburg 1982", "Krakow 2002", 2001). Simple mass-fabricated
objects have been dispossessed of their role as objects of everyday
use and used as aesthetic building components, cleverly masking
their origin. Subject to a concrete, or rather minimalistic, principle
of composition they act as an undercover of a still-life
of everyday objects (iv).
If we see the
objects' physical evidence in themselves - even more when transformed
to works, how they, dispossessed of their essence, have become
concrete - the word "concrete" given an expanded meaning. In addition
to concrete art there is also music and poetry that is called concrete.
The object is dispossessed of something that is experienced as central:
that a door can be closed, that a hanger bears clothes, that a mug
contains liquid. Instead other characteristics are emphasized: form,
colour, sound, repetition, prolongation, surface. The same goes
for words. Concrete poetry, lettrism, or whatever you want to call
it - transformed words and grammar to sound, clang, feeling. When
Dahlgren transforms Russian Malevich into a letter sculpture ("Item
9; headmaster", 2004) this is an artistic lettrism, where the modernist
pioneer's name consists of stacks of letters in dazzling colours
- as if the spirit behind the stripes/lines had chosen to step forward.
The artist M became word, which became a new picture. This formation
of new with its emotionally strong colouring follows in the spirit
of Velimir Chlebnikov (v). Words were clang and colour to him. "Kopotsamo,
minogamo, pintso, pintso, pintso, pintso!," sing the mermaids in
his "A night in Galicia." In a similar fashion, songs such as "Item
9" sing of Malevich, helped by Dahlgren's line theme: colour clang
in primary element (block letters, colour). (vi) I would like to
see a work like the blinding "Glamour", 2001, in the same way. Word
and concept combined in the flickering pink-shifting wall with a
simple grid like spark-igniting lattice.
Concrete poetry's
new formation and reconstruction of words has parallels in concrete
music. Pre-recorded "sound objects" - coughing, whistling, slamming
doors, motors - have played an all more central role in music since
Peter Schaeffer launched concrete music in 1949-50. Undressed in
their ingrained meaning and dressed in new tones, they play an important
role along side of/or instead of the ordinary instruments, with
which ordinary "abstract" music is created. The concrete was the
tangible. It is this tangibility that Dahlgren uses, where he refers
to plastic mugs, clothes hangers and other things in his paintings
and sculptures. But he does not only use transformation from one
form to another. Take for example "Item 1; youth movement" and "Item
2; bohemians"; in the former, fruit lies sorted according to colour
on a shelf construction, which could have derived from an early
Mondrian (with the exception of the colour); in the latter, diverse
shining table lamps are mixed with a free standing shelf construction,
in which an expressionistic, spontaneous streak clashes with the
construction, not least emphasized by the muddle of electric cables.
Is this a conscious irony - how the individual fruit and respectively
the individualistic lamps shine with their form and their naked
bulbs - so strikingly alike but yet so readily seen differently?
In that case a sideline about the shipwreck of individualism. An
argument against overconfidence.
The use of day-to-day
objects - hangers, mugs, lamps - and the production of usable works
of art - shelves - is tied to an affair of the heart in the tradition
of concrete art, benefit to society. When I visited Pierre Olofsson
he was just as happy to discuss a painting as he was to discuss
the colour scheme of SAAB cars or kitchen appliances for Husqvarna,
proudly demonstrating colour proofs on small pieces of paper. Bengt
Orup in a similar manner held up a few drinking glasses to the light.
Gert Marcus described the colour scheme of buildings in detail.
The works of art were a sort of model. Works that share greater
structures. Functional reality was essential.
Quite a number
of useful industrially manufactured everyday objects have been given
functional, rational and therefore beautiful forms in the spirit
of concretism. Dahlgren does a reverse movement and restores the
object of daily use to an artistic context. That which was intended
to work as a part of our everyday lives instead becomes a functional
part of the art work. In its own way it also mirrors - also in concretistic
circles - a retreat from the great utopias to the personal image
invention's intrinsic potential. In this rift of a genre, that derives
from transformation's intended necessity, an antagonism is exposed
that was there all the time, the one between lofty ideas and the
characteristic individualistic inventiveness, that is of course
typical for the concrete line. Those who see these artists as conformists
are completely wrong, few have been so unwilling to subordinate
themselves, devoted to their own ideal. I believe that precisely
this insight belongs to Dahlgren's source of inspiration. What made
Olle Bærtling persevere? Why Dahlgren consciously touches on this
great modern utopian I think is clear (vii). Bærtling was not only
the visionary of colours, he was one of them who, as stubbornly
as intuitively, used the theme of the line - in paintings as boundaries
between fields of colour to give vitality and endless prolongation,
- and in sculptures as a sort of space catalyst. Even if the former
banker's visions can be seen as flatly modernistic, his intensity,
glow and engagement in the work is captivating. A light vertigo
comes about in front of his paintings, not least when they have
been given the placement he desired in modern buildings, for example
in the lobby of one of the skyscraper buildings at Högtorget. Dahlgren
included a photograph in his 2003 catalogue of a Bærtling-like painting
in a lobby that first tricked me into confusing it with a work of
the inventor of open forms, until Dahlgren told me that it was a
"find" that he had made, a decorative painting that through the
glass door's gleam could be misunderstood. A practical joke of art
history, but that does not change the matter at hand, that the photo
is a clear address to Bærtling. Also interesting is how Dahlgren
in parallel allows the depiction of one of his own striped paintings.
In them namely the intensive flicker and the spatial experience,
not limited by the form, can be felt strongly. It is a personal
recreation of the experience from the concrete work of a Bærtling-utopian
devotion. I would say the same thing about the painting he did in
2001 in a corridor at Södersjukhuset in Stockholm. Mirroring, glass,
transparency in combination with dynamic outstretched, non naturalistic
colours give a floating Bærtling-like view of a transparency, for
which the French term éspace was used during the 50s and 60s.
As a driving
force in Dahlgren's work, I see the remarkable fact, that many works
of art, even after the death of the utopia itself, are still charged
with the intoxication and energy of this vision, evoking the dream
of the future. On one level I believe that they are personal tales
of these physical experiences that differentiate themselves fundamentally
from other art experiences, whether landscape, expressionism or
conceptual art. To satisfy oneself with a distanced commentary or
paraphrase would have been to run away from the subject. It is about
finding your own charge of energy. No more, no less. There, perhaps,
also lay the motivation for many concretist precursors, where they
connected with their forerunners. But, unlike them, Dahlgren did
not seek to create his own image invention, one small element of
his own to experiment with. Collecting has become a road. Between
us collectors, I recognize this. These quantities of objects which
are piled up and put together, these striped shirts, speak their
language and generate a sort of expression. Another is where the
collecting is more about experiences, where each one is unique in
its own way, yes, like in bird-watching. But here it is a question
of a sort of "art-spotting," if you can say so. In order to give
back these collected impressions, your own expressions are needed,
also, by way of exception, elements from other artists turn up like
a sort of recognition bonus, Rietveld's chair, Judd's boxes (Item
7; public prosecutor", 2004), but always, however, with a central
and conclusive divergence from the original. Dahlgren has chosen
another parameter.
The divergence
is always central to the experience - and formulation. In Dahlgren
I saw repetition and tried to find the serialism. There exists,
of course, such work by Bonniér (viii), Bodin, Frödin, amongst others;
but the theme has constantly been "acentralized". Translating a
mathematical or musical principle to an image is not always matter
of course, without intuition and/or randomness playing a part. This
also applies to Dahlgren. Clearly this was naturally the case with
the giant installation of dartboards at Norrköpings Konstmuseum
in 2004, "I, the world, things, life"; the repetition of circles
was numbing on such a large surface, but the vibrations of the red
darts that the audience was invited to throw at the paintings became
intensive. I see them as equivalent to the overtones that the listener
soon discovers and sinks into when listening to extremely minimalistic
music compositions. The labyrinth is the symbol for the intuitive
and the non rational. The mythological charge is strong, and has
taken a hand in art history (x). The labyrinth is the quintessence
of the unknown, and perhaps precisely therefore a stage. Dahlgren
entices play and movement in the mirror rooms he builds.
In Third
Uncle, 2001 at Millesgården, the flat plastic room construction
is activated by playing children in Dahlgrenish striped shirts.
The mirroring gives the multi-room strong tangibility; the visitor
himself turns up fragmented. Bit by bit by bit the parts are put
together during an ongoing transformation. It is the theme of repetition
twisted to the parameter of space and existence. Out in the room
(ix) - and the observer definitely looses the possibility to imagine
that he grasps the artwork's lapse of time. "Neither man nor nation
can exist without a sublime idea," alleged Dahlgren in the title
to the mirror work he built in 2002 in Vienna. In order to enter
the gallery visitors had to climb through a mirror construction
of transverse beams. The whole movement inwardly flickering with
small individual fragments, up there, down, direction, orientation
disappears. Decomposition in the process and the movement, the existential
uncertainty (x). No concept allows itself to be bound to eternity.
This is proven - if nothing else - by what happens when the artist
reduces the means to a minimum, repeating the primary syllable,
if only to experience the joy of how this repetition of the simple
explodes in a glitter of forms, where the little piece has chosen
to unite itself with space. A discovery: "Less is more," (xiii),
Dahlgren quotes van der Rohe at Konsthögskolans spring exhibition
1999; the result was a colourful corner with a roaring throng of
square basic forms! Superficiality, overconfidence and one-sidedness
are transformed to ashes. In discussions about Jacob Dahlgren stripes
are usually counted, but this turns out not to be such an easy thing
to do.
Thomas Millroth
(i) See Galerie
Anhava, Jacob Dahlgren 27.2-23.3, 2003 "The possibility of eternal
conceptual misunderstandings/Ikusten käsitesekaannusten mahdollisuus",
catalogue, Helsinki 2003.
(ii) Cp. The
horizon: when does the line go from stroke to horizon!?
(iii) The international
concept of geometric abstraction; "Concretism" with its origins
in Otto G Carlsund is mostly used in Sweden.
(iv) Naturally,
I could have named pop art, but I rather see Dahlgren's work in
an unbroken line of everyday objects appearing on the art scene,
of which one element was pop; more art history than logo, naturally
with the reservation that pop brought the logotype to art history.
Cp. Rebecca Gordon Nesbitt, "The wonderful world of Jacob Dahlgren",
who on pages 6/7 writes regarding Warhol that "packaging is part
of a product's all-important brand identity, as vital as its logo,"
in Ars Fennica 2002, Helsinki 2002.
(v) Chlebnikov
saw the word as an independent power that organized feeling and
thought material. That is why he emerged himself in the roots of
words, in their sources, went back to the time when the name corresponded
to the item." Majakovskij, page 84 in Gunnar Harding, Bengt Jangfeldt,
"Den vrålande Parnassen, den ryska futurismen i poesi, bild och
dokument", Stockholm, 1986.
(vi) In the
same spirit I see other concepts that have become tools for visual
new spelling like "youth movement". ("Item 1"), "bohemians" ("Item
2") and "dadaist" ("Item 5"), all from 2004.
(vii) In 2002
the Konstnärshuset in Stockholm exhibited Jacob Dahlgren and Olle
Bærtling!
(viii) Only
in "Sagan om ljuset," Blåsbskolan, Västerås, 1952-54.
(ix) Amongst
concrete precursors Bonniér experimented with the theme in "Minos
Platos", 1965.
(x) Out in the
room…" was Olle Bonniér's label in sketches at the beginning of
the 50s for what today would be called an installation; in 1950
he saw the years theme as beams crossing a room, a sort of labyrinth,
which wasn't created until many years later.
(xi) A related
mirrored labyrinth work of Einar Höstes "Spegelrum", 1969. The observer,
however, did not enter the work physically, but looked into the
work's space. xii The question is if it wasn't actually Count Basie;
it fits better to a tight swing.
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